PaperCity Magazine

November 2014 - Dallas

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flavor but offered "a taste of illusion." Chew on that. BLACK CHAMPAGNE BORNE BY TRIPLETS Cellar Door, installed at the Palais de Tokyo, Paris, and restaged as Cellar Door (Once Is Always Twice) at the Institute of Contemporary Arts, London (both in 2008), is yet another piece that serves as a means of getting to know Gréaud and his oeuvre — if that is possible. Consider this: The exhibition involved black champagne, concocted by the artist, which was served by male triplets at various intervals during an opening fête. Even Gréaud's titles are unnerving. Nothing Is True, Everything Is Permitted was the moniker of multiple works, including a stairway intervention in 2007 at the New Museum in NYC. A SEA MONSTER FOR VENICE The artist's prevailing trope seems to be "Go big or go home." For the Venice Biennale in 2011, he created The Geppetto Pavilion, displayed at Corderie dell'Arsenale. The piece appeared to be an enormous beached whale, inspired by Pinocchio and Moby Dick, as a livable hotel space, replicating what is must feel like to live inside a whale — a ghastly version of oceanic life. The work was placed near the Canal de le Galeazze, which left visitors wondering whether or not it had truly washed ashore. It was even cordoned off by a bit of garden fencing to mimic an excavation site. While such things are usually perused with empathy, this was a wholly different creature and posited a "catch." What's real and what's imagined? Scarcely anything was real about the piece, except for its capacity to engender a seductive bewilderment — rather like a fright show for the jet- setting intellectually inclined. What it lacked in beauty, it made up for in its surreal stance. What this means for the upcoming show at the Dallas Contemporary is anyone's guess. During this interview, Gréaud was still planning the installation for Dallas; Doroshenko was due to join him the next day. What is known is that the exhibition will occupy the entire 26,000-square-foot gallery space. Gesamtkunstwerk, indeed. Translation: It's going to be a stunner. COURTESY FRANÇOIS PINAULT, LORIS GRÉAUD/GRÉAUDSTUDIO. PHOTO FULVIO ORSENIGO/ORCH ORSENIGO_CHEMOLLO. COURTESY LORIS GRÉAUD/GRÉAUDSTUDIO. PHOTO FAHD EL JAOUDI/MINSK STUDIO. "PEOPLE CAN GET MAD AT IT OR HATE IT. BUT IT CAN'T BE JUST 'OKAY.' IT WILL BE A GENUINE EXPERIENCE OF ART. IT WILL DEFINITELY NOT BE 'SAFE.'" — Loris Gréaud on his upcoming takeover of the Dallas Contemporary Loris Gréaud at the Dallas Contemporary: January 18 – March 21, 2015. 2013 [I] at the Musée du Louvre and Centre Pompidou, Paris. 2012 The Unplayed Notes at Yvon Lambert, Paris, and Pace, New York. 2011 The Geppetto Pavilion at the Venice Biennale, Venice. 2008 Cellar Door at Palais de Tokyo, Paris; Cellar Door (Once Is Always Twice) at the Institute of Contemporary Arts, London. 2007 Nothing Is True, Everything Is Permitted, Stairway Edit, at the New Museum, New York. 2006 Why Is a Raven Like a Writing Desk? at Frieze Projects; commission for the Frieze Art Fair, London. Loris Gréaud: A Primer Loris Gréaud's The Geppetto Pavilion, 2011, at Venice Biennale, Venice COURTESY LORIS GRÉAUD/GRÉAUDSTUDIO. PHOTO PHILIPPE SERVENT. Loris Gréaud's [I], 2013, at Centre Georges Pompidou, Paris Loris Gréaud's [I], 2013, at Musée du Louvre, Paris COURTESY LORIS GRÉAUD/GRÉAUDSTUDIO. PHOTO FAHD EL JAOUDI/MINSK STUDIO. Loris Gréaud's Does the angle between two walls have a happy ending?, 2013, at Punta della Dogana, Venice Loris Gréaud's Tainted Love, 2012 Loris Gréaud's The Merzball Pavilion, 2008, at Palais de Tokyo, Paris COURTESY FRANÇOIS PINAULT, LORIS GRÉAUD/GRÉAUDSTUDIO. PHOTO JULIE DUBOS/MINSK STUDIO. COURTESY LORIS GRÉAUD/GRÉAUDSTUDIO WITH DGZ RESEARCH. PHOTO OLIVIER PASQUAL.

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